Chapter 1: Theatre and Migration: Defining the Field.- Section One: Theatre and Migration: Themes and Concepts.
Chapter 2: The Eternal Immigrant and the Aesthetics of Solidarity.
Chapter 3: ‘A Real State of Exception’: Walter Benjamin and the Paradox of Theatrical Representation.
Chapter 4: Theatre as Refrain: Representations of Departure from the Terezín/Theresienstadt Ghetto.
Chapter 5: Refugees and the Right to Have Rights.
Chapter 6: Postmigrant Theatre and its Impact on Contemporary German Theatre.
Chapter 7: Interculturalism and Migration in Performance: From Distant Otherness to the Precarity of Proximity.
Chapter 8: Cosmopolitanism: The Troublesome Offset of Global Migration.-
Chapter 9: Indigenous Migrations: Performance, Urbanization and Survivance in Native North America.
Chapter 10: Migratory Blackness in Leave Taking and Elmina’s Kitchen.
Chapter 11: ‘What needs to happen so we may remain at home?’: Climate Migration and Performance.
Chapter 12: Theatre’s Digital Migration, by Matthew Causey.- Section Two: Early Representations of Migration.
Chapter 13: Theatre and Migration in Gilgamesh.
Chapter 14: Migration and Ancient Indian Theatre.
Chapter 15: Fated Arrivals: Greek Tragedy and Migration.
Chapter 16: Migration in Greek and Roman Comedy.
Chapter 17: Migrating Souls and Witnessing Travellers in the Dramaturgy of No Theatre.
Chapter 18: The Things She Carried: The Vertical Migrations of Lady Rokujo in Japanese Theatre.
Chapter 19: The Stranger’s Case: Exile in Shakespeare.
Chapter 20: The ‘English Comedy’ in Early Modern Europe: Migration, Emigration, Integration.
Chapter 21: Migrations and Cultural Navigations on Early-Modern Italian Stages.- Section Three: Migration and Nationalism.
Chapter 22: Immigration and Family Life on the Early Twentieth-Century Argentine Stage.
Chapter 23: Sonless Mothers and Motherless Sons, or How Has Polishness Haunted Polish Theatre Artists in Exile?.
Chapter 24: All Our Migrants: Place and Displacement on the Israeli Stage.
Chapter 25: Shylock is Me: Aryeh Elias as an Immigrant Jewish-Iraqi Actor in the Israeli Theatre.
Chapter 26: Emerging, Staying or Leaving: ‘Immigrant’ Theatre in Canada.
Chapter 27: Migrant Artists and Precarious Labour in Contemporary Russian Theatre.
Chapter 28: Chicano Theatre and (Im)migration: La víctima.
Chapter 29: Staging War at the Home Depot: Yoshua Okón’s Octopus and the Shadow Economy of Migrant Labour.
Chapter 30: From Emigrant to Migrant Nation: Reckoning with Irish Historical Duty.
Chapter 31: Dwelling in Multiple Languages: The Impossible Journeys Home in the Work of Sidi Larbi Cherkaoui and Akram Khan.- Section Four: Migration, Colonialism and Forced Displacement.
Chapter 32: The Theatre of Displacement and Migration in Southern Africa: Zimbabwe and South Africa in Focus.
Chapter 33: From the Yoruba Travelling Theatre to the Nobel Prize in Literature: Nigerian Theatre in Motion.
Chapter 34: Migratory Subjectivities and African Diasporic Theatre: Race, Gender and Nation.
Chapter 35: Immobile Relegations and Exiles: Creation and Migration in French Theatre Between 1980 and 2020.
Chapter 36: Storying Home: Retracing the Trail of Tears to Restore Ekvnvcakv.
Chapter 37: Diasporic Trauma, Nativized Innovation, and Techno-Intercultural Predicament: The Story of Jingju in Taiwan.
Chapter 38: Our Life Together: War, Migration, and Family Drama in Korean American Theatre.
Chapter 39: Chronicles of Refugees Foretold, by Hala Khamis Nassar.
Chapter 40: Ukrainian Theatre in Migration: Military Anthropology Perspective.- Section Five: Refugees.
Chapter 41: Spaces and Memories of Migration in Twenty-First Century Greek Theatre: Station Athens’ I Left (E_F??a).
Chapter 42: Troubled Waters: The Representation of Refugees in Maltese Theatre.
Chapter 43: Staging Borders: Immigration Drama in Spain, from the 1990s to the Present.
Chapter 44: Performance and Asylum Seekers in Australia (2000-2020).
Chapter 45: Ramadram: Refugee Struggles, Empowerment and Institutional Openings in German Theatre.
Chapter 46: To Come Between: Refugees at Sea, from Representation to Direct Action.
Chapter 47: Theatre, Migration, and Activism: The Work of Good Chance Theatre.
Chapter 48: Theatre and Migration in the Balkans: The Death of Asylum in Žiga Divjak’s The Game.
Chapter 49: Theatre of the Syrian Diaspora.
Chapter 50: The Finnish National Theatre, Refugees, and Equality.- Section Six: Itinerancy, Traveling and Transnationalism.
Chapter 51: Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity.
Chapter 52: German Theatre and August von Kotzebue’s Theatrical Success and Pitfalls in Russia.-
Chapter 53: The Itinerant Puppet.
Chapter 54: Fin-de-siècle Black Minstrelsy, Itinerancy, and the Anglophone Imperial Circuit.
Chapter 55: Actor Migration to and from Britain in the Nineteenth Century.
Chapter 56: Migration and Marathi Theatre in Colonial India, 1850-1900.
Chapter 57: The Dybbuk: Wandering Souls of the Vilna Troupe and Habimah Theatre.
Chapter 58: Indian Circus: A Melting Pot of Migrant Artists, Performativity, and Race.
Chapter 59: Contemporary (Post-)Migrant Theatre in Belgium and the Migratory Aesthetics of Milo Rau’s Theatre of the Real.
Chapter 60: Belarus Free Theatre: Political Theatre in Exile.
